Logo is the most basic element corporate identity. When creating a logo, fonts and colors play the main role, we will talk about them later.
The purpose of a logo is to identify, for this it must comply with the basic principles of logo design:
Logo should be simple. A simple logo is easy to recognize, which allows the logo to be versatile and memorable. Effective logos have something unexpected or unique without being overloaded with details. The simpler the logo, the more memorable it is.
The logo must be memorable. An effective logo must be recognizable, and this is achieved through simplicity and relevance.
The logo must be durable. An effective logo must stand the test of time, be “timeless”, which means that it must be effective many years from now.
The logo must be universal. The logo should look great in different environments and on different surfaces - on a website, business card, employees' clothes, etc.
corporate font
An important part of the corporate identity is constantly used fonts in the design of text materials. They, like other elements of corporate identity, should be consistent with its core idea, emphasize the features of the brand image, and correspond to the specifics of the company's activities.
A font can be perceived as “childish”, “masculine” or “feminine”, “light” or “heavy”, “elegant” or “rough”, “strong”, “business”, “modern”, “conservative”, etc. d.
For example, for cosmetics, light, rounded, “feminine” fonts (like the Oriflame logo) are chosen, which are associated with femininity and grace. Fonts for corporate styles of banks and insurance companies are straight, bold, symbolizing strength and reliability.
In addition, the selected fonts should be well readable. Readability depends on the typeface, size, and boldness. Factual information (product name, price, address, etc.) should always be typed in the most simple, clear, well-read, visible from afar font, so such a font must be among the branded ones.
Corporate colors
Many companies can be instantly recognized by their characteristic color combination. Their advertisements stand out from the crowd and remain in memory. As examples of the most memorable corporate colors, one can name yellow and black - the Beeline company, red and yellow - the McDonald's restaurant chain, yellow and golden - the Kodak company.
The corporate color should evoke specific associations with the company's activities, its products and image, should carry certain information and reflect the idea of corporate identity. In this regard, when choosing corporate colors, it is important to study the emotional impact and associations that this or that color causes in potential buyers.
In addition to the emotional impact of color, it is important to analyze what type of activity it is associated with. So, usually the activities of the insurance and financial sectors are associated with calm and conservative colors: blue, green.
For companies that offer mass products and services, bright and energetic colors are more suitable (for example, Benetton). Activities associated with the sea or water are usually symbolized by the color blue, with crop production - green, with milk - white, with coffee and chocolate - brown, etc.
In addition, color is perceived differently depending on what shape and area it occupies. It is also necessary to take into account what colors will surround the color you have chosen, i.e. psychological compatibility of colors. Therefore, it is better to entrust the development of corporate identity professional designers with good advice.
In the corporate style, multicolor is undesirable, unless it is dictated by the specifics of the business. A good corporate identity usually contains no more than two colors. This is due to the following:
- color chaos is not perceived harmoniously and can even be annoying;
- there may be color rendering problems on different media;
- in the case of a multi-color brand name, the cost of advertising, souvenir and printing products, packaging, etc.
When choosing colors as corporate colors, it is necessary to take into account the possibility of their adequate transfer in printing houses and on a computer. It is not always possible to reproduce shades of a particular color different ways printing and on the monitor screen (for example, on the company's website).
Summing up, we can definitely say that it is better to entrust the development of a logo, the selection of colors and fonts to professional designers. The development of a corporate identity is a very crucial moment and is not limited to the logo, fonts and colors.
In the corporate style, multicolor is undesirable, unless it is dictated by the specifics of the business. A good corporate identity usually contains no more than two colors.
The selected fonts should be well readable. Readability depends on the typeface, size, and boldness.
Good luck with the development of corporate identity, with respect, the site;)
A corporate font is a part of the corporate identity, certain font solutions in the design of text materials and logos that the organization has chosen and constantly uses in its advertising and in the design of its products and services.
For the design of printed products, a specific font can be selected. The art of font selection and typesetting is called typography. The use of fonts is very diverse. There are sans serifs and serifs, vertical and oblique, thick and stretched, diagonal, loose, uppercase and lowercase and uppercase, small and huge, elegant and powerful, calm and flashy, colored and outline, simple and decorative.
Print headlines don't just shape the text, they work because they the combination of all techniques should ensure the achievement of advertising goals.
When choosing a font, four conditions must be taken into account: readability, relevance, harmony and appearance, accent.
readability. The most important condition. It is influenced by: font style, letter thickness and size, line length, spacing between words, between lines, between paragraphs. Illegibility kills interest in advertising. Unreadable fonts can only be used to create special effects.
Relevance. With the modern abundance of fonts, both in style and in size, the whole complex of moods and sensations can be conveyed, as it were, separately from the meanings of words. Some fonts can convey a sense of resilience and masculinity, while others can convey a sense of fragility and femininity. One typeface whispers luxury, while another typeface screams profit.
For example, a font that evokes a feeling of old-fashioned is unacceptable in an advertisement for modern technology. You should also consider the type of audience to which the ad is directed. If we are talking about people of the older generation, you can choose the design in the style of "retro", for young people - on the contrary, the emphasis is on prestige, fashion, modernity.
Harmony. A common newbie mistake is mixing fonts. This leads to disharmony and a sense of chaos. Fonts should be in harmony with other elements of the advertisement, including illustrations and composition, and be closely related.
Accent. Emphasis can be achieved through contrast (multiple styles of the same font, italic vs. upright, uppercase vs. lowercase, etc.). At the same time, you must be careful, otherwise, in an attempt to emphasize everything, you will not be able to highlight anything. Knowledge of the features and symbolic meaning of fonts comes with experience.
Corporate font underlines various features brand image. A font can be perceived as light or heavy, elegant or rough, masculine or feminine, businesslike, durable, etc. The task of the designer is to choose from a huge number of fonts 2-3 that would ideally and in accordance with certain rules fit into the image of the brand.
For the design of printed products, a specific font or combination of fonts can be selected or even created.
The letters in the font differ in the nature of the pattern, inclination, saturation, size. It is developed individually, as well as the logo. Of course, having your own corporate font will distinguish the company from others, but still it is not a mandatory component of the corporate identity - you can use ready-made fonts, excluding those that are not covered by any intellectual property rights.
Each font has functional features and is perceived differently by consumers. The corporate font should correspond to the peculiarities of the company's activities, the business in which it is engaged. Slavic ligature is good on the packaging of bakery products, kvass or vodka. Gothic font will look out of place on the packaging of Kiev cutlets or Tula gingerbread. Fonts that are too small or too large are not suitable for advertisements and PR-materials in the press, make it difficult for the reader. The consumer quickly gets used to certain font solutions in the company's advertising. Therefore, they should not be changed.
Changes in the corporate font are made only when the repositioning of goods and advertising arguments is carried out, the company's profile changes dramatically. In this case, changes in the corporate font indicate the fundamental novelty of its position on the market.
Thus, a corporate font is certain font solutions in the design of text materials and logos that an organization has chosen and constantly uses in its advertising and in the design of its products and services. No more than two or three fonts, most accurately conveying the nature and characteristics of the company.
The font can be a kind of illustration of a particular printed publication. In the headlines of many national newspapers, you can see the font of the beginning of the 20th century. This is a signal that allows the reader to instantly select the necessary newspaper, magazine, book from a huge flow of information.
If the solution for connecting the font image and the content of the text is found correctly, then the viewer, without even reading the text, or without understanding it (if he foreign language) will know what the poster is about. The font can reflect national and specific features.
When you're working on creating brand identity (particularly a logo), type is one of your biggest allies. Therefore, the choice of the optimal font should be approached as responsibly as possible. It should be both beautiful, legible and original, have a pronounced character and look appropriate in different contexts.
When choosing a font, you need to take into account the history and characteristics of your company, as well as the scope of the future logo. You should also remember that the design of your emblem should remain relevant for more than one year. Interesting you can find ideas for logos.
Ideally, it should be created specifically for your project. But if you like an existing one, take care of acquiring permission to use it. If you are looking for the path of least resistance, we advise you to pay attention to free fonts that can be downloaded online. First, you won't have to pay to use them for commercial purposes. This is the best option for companies with a modest budget. And secondly, free fonts are very diverse. In this article, we have collected 30 of the best fonts that are completely free to use. Take a look, consult with colleagues, download and install the options you like. And if you decide to use any of these fonts in your logo, be sure to share the result with us! Helpful Hints and recommendations for creating a logo you can find.
Most of the options on this list are free, but it's still best to play it safe and read the terms of use.
Humanist-class sans-serif typeface, slightly reminiscent of the grotesque. Versatile in use. It has 5 degrees of saturation. Light and bold options are available for free!
Qanelas Soft is modern, beautiful, sans-serif and geometric. This is a softer, "friendly" version of the Qanelas family.
3. BRAVO
Beautiful Russian font with lots of glyphs and symbols.
Rectangular serifs give Trocchi a casual, effortless look. Trocchi is perfect for both texts and graphic objects. It got its name in honor of the Scottish writer Alexander Trocchi.
Bebas Neue is a sans-serif family based on the original free Bebas Neue font by Ryoichi Tsunekawa. It gained immense popularity, earning the nickname "the new Helvetica among free fonts". Thanks to the design team at Fontfabric, the family has been expanded with four new styles - Slim, Light, Book and Normal. They remain true to the Bebas style with new degrees of saturation: the same simple lines, elegant shapes and a combination of technical directness with warmth that everyone understands. Ideal for screen and print, commercial and artistic use.
A compact, geometric sans-serif font with uppercase letters, small caps, numbers, and a variety of symbols. Designed by Jamie Wilson.
A new decorative grotesque, reminiscent of a combination of Art Deco and Constructivism. Poiret is a unique typeface characterized by lightness, purity and elegance. It is based on geometric shapes, stylish lines and graceful contours. Large signs, labels, titles, headings, any graphic elements on the Internet, animated graphics, printing (t-shirts, posters, logos, etc.) - the scope is huge.
Aileron is a great example of a beautiful (and free!) sans-serif typeface. It was inspired by the style of Helvetica. However, the author managed to bring his artistic vision to life, giving it more roundness.
An interesting font that you can appreciate on the Facebook logo.
Gentona is a neo-grotesque sans-serif typeface. It was created by designer René Bieder.
Rambla is a humanist-class font that seems to be made for medium-sized texts.
13. FENIX
Pronounced serifs and bold strokes. In a large size, it is elegant and easy to read at the same time, and when reduced, it acquires rhythm.
Hipstelvetica is an experimental family designed for individual project. The inspiration for the creation of this family was once again the legendary Helvetica.
Interesting, futuristic from Zoki Design.
A handwritten (calligraphic) font that will make your work look both bold and charming. A great option for both personal and commercial projects. It will look good on a variety of media - t-shirts, letterheads, posters, badges, etc.
MAXWELL is universal, it is suitable for almost any purpose. Used for print, screen, animations, as well as titles, text logos, etc.
This beautiful font once featured on the Google logo.
19. FIBER
Fiber is a handwritten vintage typeface. There are no two identical signs in it: each sign has its own noise level. Kerning and metrics provide the maximum readability that only capital letters can achieve.
Humblle Rought is a modern vintage typeface that looks as natural as possible thanks to its visual imperfections. It includes numbers, special characters, symbols, as well as a large selection of stylistic alternatives.
Casual is completely free and can be safely used in a variety of commercial projects.
22. BRUX
BRUX is stylish, bold and full of life font. Ideal for both print and digital projects. It will give a special character to your works.
23. ANDIS
Andis will look equally good in texts of different sizes.
How important is he
How important is a corporate font for creating a corporate style? The answer to this question is simple: corporate identity involves the development and use of corporate fonts that will evoke associations with a particular product or company.
A good example of the use of fonts is the printed press - it is considered good practice in Europe and the United States to have your own characteristic fonts that allow you to distinguish a publication from others at a glance. There are not so many successful examples of using fonts as an element of corporate style in the CIS, but they do exist. In particular, the use of non-standard fonts as elements of corporate identity is practiced by some state banks and corporations operating at the international level.
Corporate font - basic features
There are usually certain requirements for corporate fonts:
- Legibility and readability.
Unreadable fonts are one of the main mistakes in choosing. It is worth considering that when choosing fonts for headings, logos or typesetting, it is important to pay attention to their uniformity - an excessive number of different fonts, especially if they are not standardized, can make text difficult to read. - Compliance with copyright.
All existing fonts are divided into licensed and non-licensed samples. And if for the site regional company operating in the field of small business, the use of non-licensed fonts is not desirable, but still acceptable, then for large corporations the presence of non-licensed fonts is simply unacceptable and unacceptable, as it can harm the company's reputation. - Marketing Compliance.
The marketing component when choosing corporate fonts is no less important than all others. Any successful brand has its own font for typing the name of the trademark - this is a widespread practice, which is the key to success for many manufacturing companies. And, if possible, it is necessary to delegate the creation of such fonts to specialists who can justify their choice based on the needs of the target audience and market analysis.
In addition, when creating or selecting branded fonts, it is worth considering such subtleties as:
- Difficulties in translation.
Companies operating in international markets most often choose classic fonts that have been used for decades as elements of their corporate identity, preferring to bring individuality through corporate colors or other techniques. Why it happens? Yes, because most of the original modern fonts do not have a legal Cyrillic or even just a multilingual addition. And adapting them to work with a non-Latin alphabet is not an easy task. So is it worth taking the risk and creating difficulties in translation if you can use time-tested options?
- Made to order or ready made?
The use of fonts designed specifically for a specific customer is an ideal option for those who value their time and plan to pursue a well-thought-out branding policy. In Europe and the United States, fonts have long been one of the tools in the struggle for the attention of the consumer audience. And yet, when choosing between originality and functionality of a font, it is worth giving preference to convenience and the possibility of wide application.
Taking into account the activities of the ParaType company, the conversation will focus mainly on fonts. I really want to think that readers understand that the font does not appear “from a floppy disk”. It is made by artists, so like any work of art, be it graphic design or photography, a font is a work of art.
Let's start with simple examples as various firms approach to solving issues of maintaining a unified corporate identity and situations in which, in this regard, domestic firms and representative offices fall into foreign companies in Russia.
First I would like to mention Sberbank Russian Federation, which uses the ITC Benguiat font (named after the author's name), well recognizable by all our citizens. The words "Savings Bank" on all forms, booklets, savings banks in various languages are written in this font. Long time Sberbank used an illegal Russified version of this font.
The "illegal version" in this case means the following: a font containing Latin characters is taken from a pirated disk. A certain "local designer" completes the Cyrillic characters, without coordinating the work with the owner of the original. The font obtained in this way is widely distributed on the same pirated discs. And then some advertising agency or design bureau develops a corporate identity, not paying attention to the origin of the font. The font becomes branded and used in the logo. This causes serious damage to the client's reputation, since although it is technically possible to replicate fonts presented in computer formats, this does not negate the need to comply with the Law of the Russian Federation "On Copyright and Related Rights".
Sberbank, after some time, found it necessary to check all elements of the corporate identity for copyright compliance. It was necessary to do the following: first, to acquire the right to use the Latin part of the font, and second, to Russify the Latin alphabet in Russia, that is, to create the Cyrillic alphabet. And the third is to purchase licenses to install the font on a certain number (more than a hundred) of computers to work in all branches.
Second example. The American company Compaq (one of the leaders in the computer world), which has its own corporate identity, has obliged employees of the Russian office to draw up documentation in Russian in accordance with the corporate identification system. This system included the font Thesis (by Lucas de Groot, a fairly well-known German designer). The firm had the rights to the Latin alphabet. The Cyrillic alphabet was created and a simple license was acquired to use the Cyrillic alphabet for publishing and technical documentation.
Third example. Volkswagen used the Futuris Demi typeface on billboards and print ads for VW (not Audi). Western editions use the VAG Rounded fonts (Volkswagen's signature font) and Futura. You can compare magazines for Western readers and Russian ones: the texts in them are typed in different fonts.
Not finding a Cyrillic font similar to VAG Rounded, the company simply excluded it from advertising, and instead of Futura used the closest analogue - the Futuris font. Both actions are surprising, since on the scale advertising campaign for an automotive company, it is quite a real task to make any corporate font to order. As for the Futura typeface, there are official Cyrillic versions of this typeface by ParaType.
The first case is perhaps the most common and most serious. We are talking about a large organization with a developed system of branches, with fairly stringent requirements for the corporate identification system. For a bank, corporate identity plays a special role. The inscription "Sberbank of the Russian Federation" must be the same for all documents and for all branches, both in Russia and abroad.
The second case with the translation of company documentation into other languages is more frequent, but no less interesting. Please note that in the passports household appliances, released 3-5 years ago, already translated into Russian (it can be 10 languages), all blocks are typed in different fonts: Latin one, Cyrillic another, another group of languages - the third. If you take the modern technical documentation of a reputable company, then more and more often the entire document is drawn up in a single format, typed in a single font in all languages and has a certain unified look. For a corporate identity system, this certainly matters.
The third case is interesting as an example of an international advertising campaign run by network agencies. It is similar to the first and second, is massive, but "works" during the period of a specific advertising campaign. If the advertising campaign is international in nature, it is very important to use in order to preserve the visual range. different countries, for different languages, the same set of fonts. At Mercedes, this requirement is met everywhere. All advertisements are made using the same font, both in telephone directories and in magazines. Examples could be given of the use of corporate font by transnational tobacco companies or firms selling food products. However, in the vast majority of cases, former USSR corporate identity in advertising campaigns is not respected. Advertising layouts retain the slogan, logo and video, but, unfortunately, the font is selected according to the criterion “similar - not similar”, which indicates insufficient professional training of advertising agency employees. Such decisions should be made by professionals, since each font corresponds to a very specific style and direction in graphic design, and even a "small" mistake can completely destroy the original idea of the original design. Let me remind the “specialists” who believe that all fonts are the same that for a European, all Chinese have the same facial expressions and are absolutely similar to each other.
When we talk about corporate identity or a corporate identity system, we mean a whole range of concepts. And the font is one of the components, along with the grid, corporate color, logo.
What difficulties await us here? Let's start with purely technological ones. International advertising campaigns, as a rule, come to us from the West. In the West, there are more than 15 thousand commercial fonts (according to catalogues). Moreover, Western firms probably do not spend such a lot of money on advertising and consultants in vain. Very often they use trendy fonts that appeared 2-3 years ago and, as a rule, exist only in Latin. This is a big problem for our market. Not only because it is necessary to select the Cyrillic alphabet. In the Russian regions, such advertising is in national languages, and very often the problem of Belarusian, Ukrainian, Tatar, Kazakh languages is a problem of Moscow advertising agency. And we need to pay attention to it. If you can’t do it “like in Latin”, you should try to choose a close font. Here it is very important to contact a specialist, a professional.
For example, the font used in the Ingosstrakh advertising campaign exists for Ukrainian and most other languages. But when conducting an advertising campaign in Russia as a whole, local advertisers in Bashkiria and Tatarstan are unlikely to pay attention to the fact that the font is Futuris, and not Helvetica, Pragmatica or Arial. The manager must pay attention to this when drawing up a contract. The corporate color, a set of photographs, text, font must be transferred to the contractor as a single set. These requirements should be spelled out appropriately throughout the chain of contracts.
There may be completely unexpected and purely utilitarian problems here. If the font is replaced with a similar one, the layout may simply not be saved during phototypesetting. When replacing one font with another, the text will simply “slide” (if it is about ten characters) or will be reversed (if it is about several sentences). A different font has a different width, a different character height. And it is possible that if the meaning is not lost, then a certain plan conceived by the designer may well be violated.
Today, advertisements for consumer goods, automobiles, food, etc. tend to avoid character fonts unless they are part of the trademark. An example is the same rather neutral Futura in a Volkswagen ad. Modern, constructivist, it was fashionable in the early 80s and is widely used today. Very often, Western advertising (I pay attention to the fact that this is one of the criteria for the highest professionalism of a designer) is made in such a way that the font can be replaced with another one without losing the meaning and idea of the designer. Well, it won't be as pretty. Yes, the professionals will notice. But this is perfectly acceptable. Font design may not carry a semantic load if it is not tied to the image by time, design, style, etc.
There are downsides here. They say that international advertisements are faceless, there is no “zest” in them. But they are very professional, it is difficult to spoil them. This is convenient for advertising cars, tape recorders, chewing gum, drinks. For the corporate identification system, the situation is exactly the opposite - the font must carry a semantic load. First of all, we are talking about annual reports and other documentation of banks, insurance companies, and other financial organizations.
If you set yourself the task of achieving recognition of the company, creating a certain image in documents: reports, forms, business cards, then the most important principle is compliance with the measure. In "serious" documentation, if the font also has a meaningful function, as a rule, fonts associated with wealth and respectability are used; for example, classic fonts like Garamond or Baskerville. These are really solid fonts that you want to take your hat off to. They are very difficult to use and put additional demands on the overall design. This requires the author of the design project to have additional knowledge of history and typography. But maybe these fonts are more correct to use in art albums?
In architecture, the amount of gold, stucco, carved facade is a sign of a certain era, style. And if you have already built the Catherine's Palace, then go in a wig and brocade. And if you arrived in a modern sports car and you have a mansion made of Finnish materials, then it’s better to take the font not from the Catherine era, but modern, slightly aggressive, which does not prevent it from being fashionable and respectable. Most of the mistakes of modern print design are just related to the complete inconsistency of the selected font with the nature and content of the publication.
It is difficult to follow the entire line of corporate identity, including the interior of the premises and the uniform of employees. It is necessary to maintain in the style all elements, including color scheme. Another architectural example is St. Petersburg. The yellow buildings are of the design of their time. Greenish - their own. You can't repaint them. If you built a mansion and painted it blue, do the molding. And if the style of your mansion is more constructivist, or you want Smolny, paint the mansion yellow.
Probably, it is not necessary to adjust the entire corporate identity to the building in which you work, but you need to keep in mind the simplest rules. After all, the font of the Art Nouveau style (the first half of the 20th century) looks very strange on Catherine's mansion. If we are talking about the sign “Traktir” or “Pivnaya”, then you can still put up with it, but if it is about the name of a bank or a representative office of some Western company, then this raises a smile. In addition, advertising often uses the appearance of the main office of the company. And the style of advertising, in this case, should match the front entrance. Signboard - the architecture of the entrance.
You don't have to be a professor of graphics or teach book design to understand that type, if used in outdoor advertising, is as much a part of the medium as architecture. If it is used on paper, then it is the same equal element as everything else that is placed on the same page. If you remember this and try to bring all the components in line, then the style will line up by itself. If it does not line up or something does not work out, then something needs to be changed. As a rule, the font is easier to change than anything else. If there is already a photograph of the president in knightly armor, then nothing can be done about it (both literally and figuratively). Or if millions have already been spent on the reconstruction of the entrance in its original form. The font is usually the less critical part.
No need to be afraid of modern fonts, modern design. It is only important to observe a certain continuity and balance of sound in the corporate style. I've seen good corporate identities based on Swiss typography: Helvetica, etc. - everything is very strict. It is not very fashionable, not very modern. They don't do that now. But if it was done thoughtfully at the time, then there are advantages: the corporate identity shows when it was created and how long it has existed. It serves as an additional factor in the fulfillment of the task - to reflect, for example, the stability and reliability of the bank.
One company can use several fonts for different purposes: one - for official documents, normalized, hosted. Another can be mass-replicated, they can print technical documentation. The third may be a kit for the current advertising campaign. Fonts don't have to be trendy or flashy. They must be relevant to the task at hand.
In the West, corporate fonts are not only reputable companies, but also government departments. Newspapers have custom fonts that try to identify themselves in the general field. It is very important for commerce when one can immediately distinguish this or that publication by the title, by the typesetting in the huge collapse of newspapers, without being a specialist. We are only just beginning to use a unique custom font as an element of corporate identity. An example of this is Sberbank. Many ask to change a few letters in the font so that the style becomes branded and can be identified.
There are good examples of how to work with fonts. Kommersant Daily changed the font several times. The search was long enough. The subheadings are now typed in the Free Set brand font - an analogue of the Frutiger typeface of the "living classic" typography by Andrian Frutiger. This is a modern open grotesque, a very good alternative to Helvetica. Although there are already new grotesques, it will remain modern for another ten or twenty years. The title font is Swift (heavy sans-serif serif by Unger). Nowhere else, as in Kommersant Daily, is it used. Now a new version of Swift is being made, which will be massively replicated and sold to everyone.
Another, this time a blatant example. Wonderful, timely action "Sign of the ruble". Well done! One hundred points! The competition was held by professional journalists and designers. But why was there not a single type designer in the selection committee? From the Academy of Printing, from the Union of Designers, from anywhere. From abroad, finally. Among the selected signs is the letter "Ъ" from Lazursky's typeface. Since the sign of the ruble is a font sign (like the dollar, like the yen, the pound), it turns out that the solid sign of the Lazursky typeface must be added to all fonts in circulation. It is clear that the ruble sign will be used together with numbers. It will be drawn for sans serif, antiqua, decorative type and must correspond with the sign of yen, dollar, forint, florin, etc. Only one of the characters that made it to the final was made with all of the above, professionally, by a type designer. The rest "doctors did not treat."
There are practically no good reference books in Russian, but there are dozens in English. You can and should get to know them. But at the same time, competent and literate people who are professionally engaged in advertising do not try to display films on their own. They go to the phototypesetting center and consult on what kind of layout should be so that it is technologically advanced and well displayed on phototypesetting. They consult with representatives of printing houses, what should be the color so that it prints well both on coated paper and on plain offset. The same with the font. Do not be afraid to consult. There are very good designers who understand this. There are just typists. There are teachers at the Polygraphic Institute. There are many of these people. They are easy to find. Any professional typographer will tell you that type design is "aerobatics".
You can talk for as long as you like about the rules for constructing the Cyrillic alphabet, this is a whole world. But it is better if a person who does this professionally helps you. If you don't like one consultant, go to another, it's easier than with a doctor. But if both the second and the third say the same thing, you need to ask yourself the question: am I right?
Alexey Shevtsov, Marketing Director of ParaType
